jpmosu

My policy: never order a disc if I'm likely to be dead when it's finally released!

Point taken about the verb tense issue. However, I do want to defend a book that has real merit and to counter the implication that much academic writing is the product of people dabbling in things they know nothing about. Who, in their right mind, would take the intellectual effort to write a lengthy, theoretically-informed essay about something (e.g., jazz) that they care nothing (or know nothing) about. "Tenure" pressures *might* explain the latter, but certainly not the former. Academics don't always know everything about every subject, but they're usually trying to stretch people's minds a bit (including their own). Pesonally, I find that I don't really know what I think about a lot of things until I write about it. Hey, I realize that academic writing *can* be jargon-y and difficult and that someone brilliant people just don't write that well (there are pieces in the Gabbard book that illustrate this, btw), but generalizations are usually not wise to make, and, Gabbard, in particular has done some really interesting work (check out his book on Hollywood and jazz: *Jammin' at the Margins*). In the end, I probably woke up crabby this morning, which may explain a bit of extra defensiveness on my part. I do enjoy the discussion here, except when it turns kind of bitchy (and I'm as guilty as anyone today, I guess).

I'm not sure what this has to do with the audience that Gabbard is writing for. If Barnes and Noble lumps all Jazz titles together in the same section, then a quick glance at the table of contents should reveal whether or not it's a book that might serve your reading interests. And, after all, it's a collection that's published by Duke University Press, which itself suggests something about the potential audience. No serious interest in jazz? If you haven't read the collection, this is a foolish statement to make. The contributers not only have an interest in the music, but they also want to present it as a serious art form: one worth listening to, but also one worth thinking about and teaching in a university setting. Most of us love jazz and probably can't imagine how anyone couldn't take it seriously, intellectually speaking. But as someone who teaches film, I understand that some disciplines are deemed unimportant within the academy (at least for a time). Now, if you have read the collection and feel it has "no serious interest in jazz," then so be it. But I have a feeling that someone who dismisses "hip academic theory" (as if this is some monolithic "thing") probably didn't make it past the introduction.

Equating "critical theory" with "pretentious" doesn't seem quite fair. Gabbard, whose background is in literature and literary criticism, has edited two anthologies for people interested in the intersection of jazz and other areas of the humanities. And, he's writing for a largely academic audience who understand the "language" that he and his contributors speak. In the end, it either communicates to you or it doesn't, but "pretentious" seems like such a knee-jerk phrase to dismiss a book that *has* found its own niche (I've used it in my own writing and research, btw). So many of these criticisms about books fail to consider the question of audience. Not every book is for every reader, right? I know that's stating the obvious, but sometimes that idea seems to have become lost in this thread. john

The references to the stage announcements from "In Europe" made me laugh. But the one that puzzles me is the Tony Williams introduction. There's a rather matter-of-fact announcement that "He is seventeen," if I'm not mistaken. But, to me, I'd express a bit more amazment: HE'S ONLY 17!!!--CAN YOU FREAKIN' BELIEVE HOW GREAT THIS KID IS???? A good illustration of what a prodigy is...

I thought I'd make a space to discuss the following (out today): Seven Steps to Heaven "Four" and More Miles in Europe Miles in Tokyo Miles in Berlin My initial thoughts: 1) "Seven Steps" may end up being one of my favorite "late night" discs. I've held off on buying this one until today, and I can't believe how beautiful it is. 2) Harvey Pekar's new liners for "In Europe" aren't terrible, but I can understand why Miles really preferred to let the music speak for itself (Pekar doesn't say anything remotely interesting, unless you're a complete Miles novice perhaps). john p.s. I didn't pick up "Tokyo" or "Berlin," so I'm especially curious if anyone has thoughts on those.

I would almost have agreed with this a few years ago. I gave up on Dylan after a couple of shows in 1989-90, when he was the most indifferent performer I'd ever seen in my life. At one point, in the Syria Mosque in Pittsburgh, an entire row of committed Dylan fans had absolutely no idea what songs he was performing. I couldn't believe his seeming disregard for his own art. So, when *Time Out of Mind* came out to the usual "Dylan is back" fanfare, I wrote it off as hype. I refused to listen to the disc until last year, when I started planning a "Dylan as Literature" course, prompted by Chrostopher Ricks' book *Dylan's Vision of Sin* (which, btw, is alternately fascinating and infuriating in the ways it juxtaposes Dylan with Keats, Milton, etc.). However, when I actually listened to *Time,* it was better than I could have imagined. Not as consistent as *Blood on the Tracks,* but filled with some really moving songs ("Not Dark Yet"). So now I'm back on the bandwagon, I guess, but I have to find a way to help 19-year olds to get past the "I can't stand his voice" objection and listen regardless. God, I'd love to have some of the boots of those 1979-80 shows... john

I'm curious about this, too. I've got relatively little Blakey in my collection, and I'm thinking about picking up *Indestructible* and *Night in Tunisia.* john

Thanks, I feel much more relaxed now.

The CD set is now on hold--thanks for your interest. John

Sent you an e-mail. John

Well, I'd prefer not to auction it on E-bay. I guess I just want a fair price, and I'll sell it if someone here offers it. John

Anybody interested? The CDs, booklet and box are in great condition. Make me an offer via e-mail if you're interested: Thanks, John

I can't answer your question, but I've always been puzzled why *Astral Weeks* has never been upgraded. It's a crime, really, for this disk not to sound better than it does. An amazing record--that's all I can say. john

Thanks for the update! It looks like CD Universe has 'em for pre-order at $9.79. John

I can't answer your question, but I do know that this is one of my all-time favorite late-night listens. Gorgeous.

Thank you all for the advice/support. I guess I'll admit it, too. Our baby does sleep a bit better on her stomach. Doing so gives my wife and I MUCH anxiety, but the baby is really struggling for any sleep at all, so we've gone this route--at least for now. Guess we're not alone in making this decision! john

Hi, I haven't been following discussions round these parts lately--ever since Dec. 16th, to be exact. My first child, Lydia, was born that day. Now, 5 weeks later, I assumed I'd be able to return to some regular jazz listening (and Organissimo surfing), but the baby's crying and lack of sleep seem to be regressing, rather than improving. Don't get me wrong: my wife and I are so fortunate to have Lydia (there were two other miscarried pregnancies). She's beautiful and alert, but just doesn't seem to be able to sleep much (the problem is that she begins to writhe with GI distress after nursing). But despite our joy in finally having the baby, I feel like there's a hole in my life, too, since I've had virtually no time for music. I guess I'm writing because I'm sure that others have been in this situation, so any sage advice would be welcome. (I'd even accept pity, right now!). Does it get better? Can it possibly get worse? Will things improve in time for the new Ellington re-issues (in Feb.)? Does anyone want to rock a baby to sleep? john

Damn straight--this version instantly puts me in a good mood, too. I love it. As far as covers go, I love Fairport Convention's "I'll Keep it with Mine."

I don't know if they'd chart, but I do know that the "naked" version of "Long and Winding Road" redeems the song for me. I forget where a reviewer said it, but I initially read that this new version sounded like a sloppy demo that hadn't been worked up into a proper song. And that's garbage, IMHO. Without the strings and vocal chorus, this is a very moving record--I'm damn glad to have the chance to play the "naked" version. I love Spector's production work on John Lennon's *Plastic Ono Band* and *Imagine,* but Phil ruins *Let it Be* for me.

I was intrigued by this, too, so I just spoke to my source of info at the local record shop. According to him, the first disk has great sound and is completley worth the $$$. However, the bonus disk is about 20 minutes long and is, in his words, a "bunch of crap"--mostly studio chatter and noodling around. But I guess we'll have to wait until Tuesday to know for sure. john

Two influences: 1) At age 18. Taking the Jazz Appreciation Course at the University of Pittsburgh (taught by Nathan Davis)--the second most popular course on campus at the time (the most popular was called "Presidential Rhetoric"--I took that, too, by the way). 2) At age 21. Having a friend who made mix tapes, played jazz in the car, etc. until I gave in and loved the music, too.

Amen. I picked this up yesterday, and I just keep listening to the first disk--"Dreams," in particular. I had forgotten what a great singer Gregg Allman can be. If you have any interest in blues/rock, this is a must have.

FYI, there's another thread on this in Misc. Music

If you're in Times Square, walk (or ride the bus) up to NYCD on the Upper West Side. It's got a decent (not large--but high quality) selection of jazz. If memory serves, it's near 80th and Amsterdam Ave. john